Tag Archives: Barbican Centre

MICHAEL CLARK — COSMIC DANCER

I never really had a plan, except to express myself as purely as possible… I still make work on my own body first, as I always have. I can only understand it from the inside. — Michael Clark

MICHAEL CLARK—COSMIC DANCER, recently at the Barbican, was the first comprehensive retrospective of the British dance artist. Interrupted by the pandemic shutdowns, the exhibition lives on in the catalog, edited by Florence Ostende.

Bringing together materials from his choreographic work and collaborations with artists—including Elizabeth Peyton, Silke Otto-Knapp, Sarah Lucas, Wolfgang Tillmans, Leigh Bowery, Peter Doig, Cerith Wyn Evans, and Duncan Campbell—the book is a beautiful complement to MICHAEL CLARK, a 2011 monograph edited by Suzanne Cotter and Robert Violette.

See link below for details.

MICHAEL CLARK—COSMIC DANCER

Edited by Florence Ostende.

Prestel Publishing

From top: Charles Atlas, Hail the New Puritan (1986), Michael Clark, stills, 16mm film transferred to video, image courtesy and © Charles Atlas and Luhring Augustine; Michael Clark and Company, I Am Curious, Orange, 1988, photograph by Richard Haughton, image courtesy and © the artists and the photographer; Michael Clark, Before and After: The Fall, 2001, in Berlin, Lorena Randi and Victoria Insole, photograph by Andrea Stappert, image courtesy and © the artists and photographer; Clark during the filming of Hail the New Puritan, photograph by Alexander James, image courtesy and © the artists and the photographer; Wolfgang Tillmans, man with clouds, 1998, image courtesy and © the artist, Galerie Buchholz, Maureen Paley, and David Zwirner; Elizabeth Peyton, Michael Clark, 2009, image courtesy and © the artist and Sadie Coles HQ; Silke Otto-Knapp, Group (Formation), 2020, watercolor, image courtesy and © the artist, Galerie Buchholz, and Greengrassi; Michael Clark: Cosmic Dancer (2020), edited by Florence Ostende, exhibition catalog cover image—Clark, Mmm, photograph by Hugo Glendinning—courtesy and © the artist, the photographer, the Barbican, and Prestel Publishing; Leigh Bowery and Rachel Auburn in Hail the New Puritan; Clark at the opening of Derek Jarman’s 1984 exhibition at the Institute of Contemporary Arts, London, photograph by Steve Pyke; Hail the New Puritan, courtesy and © Atlas and Luhring Augustine; Ellen van Schuylenburch and Clark in Hail the New Puritan, photograph by Haughton. Images courtesy and © the artists, the photographers, and the Barbican.

LEE KRASNER

The first major European retrospective of the artist’s work in half a century, LEE KRASNER—LIVING COLOUR brings together nearly 100 paintings, drawings, collages, and photographs by this pioneer of Abstract Expressionism.

A section of the exhibition at the Barbican reproduces Krasner’s small upstairs studio at the house in the Springs (East Hampton) she shared with Jackson Pollock during the decade of their marriage—from 1945 until Pollock’s death in a car crash in 1956—after which she took over Pollock’s studio and began her work on large, unstretched canvases.

After London, the show will travel to Schirn Kunsthalle Frankfurt.

LEE KRASNER—LIVING COLOUR

Through September 1.

Barbican Art Gallery

Silk Street, London.

See Mary Gabriel, Ninth Street Women—Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art (New York: Little, Brown, 2018).

From top: Lee Krasner, Polar Stampede, 1960, the Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art, courtesy Kasmin Gallery, New York, photograph by Christopher Stach; Lee Krasner, Desert Moon, 1955, LACMA, © 2018, Digital Image Museum Associates, LACMA, Art Resource, New York, Scala, Florence; Krasner, circa 1938, photographer unknown; Lee Krasner, Palingenesis, 1971, courtesy Kasmin Gallery; Lee Krasner, Abstract No. 2, 1946–1948, Institut Valencià d’Art Modern, photograph provided by IVAM; Lee Krasner, Icarus, 1964, Thomson Family Collection, New York City, courtesy Kasmin Gallery, photograph by Diego Flores; Lee Krasner, Bald Eagle, 1955, collection of Audrey Irmas, Los Angeles, photograph by Jonathan Urban. Images courtesy and © the Pollock-Krasner Foundation.

MERCE CUNNINGHAM — NIGHT OF 100 SOLOS

On Tuesday, in celebration of what would have been Merce Cunningham‘s 100th birthday, the Merce Cunningham Trust will present NIGHT OF 100 SOLOS—A CENTENNIAL EVENT.

In three venues—first at London’s Barbican, then at the Brooklyn Academy of Music, and finally at UCLA—an 80-minute performance of 100 overlapping solos will be overseen by Merce Cunningham Dance Company alumni as the work of the late, great choreographer continues to invigorate the canon and astonish new generations.

“This Event, and the longstanding, continuing partnerships with these three premier organizations, are true signs that the Cunningham legacy is alive and well ten years after his passing.” — Ken Tabachnick, executive director of the trust

In Los Angeles, the event will be staged by Andrea Weber—a dancer with the company from 2004 to 2011—with Dylan Crossman. Jennifer Steinkamp designed the set at Royce Hall, and Jessica Wodinsky is the lighting designer.

Madison Greenstone, Bethan Kellough, Stephan Moore, Stephanie Richards, and Suzanne Thorpe will provide live musical accompaniment, organized by Stephan Moore.

The dancers for the Los Angeles section are Paige Amicon, Barry Brannum, Lorrin Brubaker, Rena Butler, Tamsin Carlson, Erin Dowd, Katherine Helen Fisher, Joshua Guillemot-Rodgerson, Casey Hess, Thomas House, Laurel Jenkins, Burr Johnson, Vanessa Knouse, Cori Kresge, Brian Lawson, Jessica Liu, Victor Lozano, Daniel McCusker, Polly Motley, Jermaine Maurice Spivey, Savannah Spratt, Pam Tanowitz, Ros WarbyRiley Watts, and Sam Wentz, with Cemiyon Barber and Una Ludviksen as understudies.

NIGHT OF 100 SOLOS—A CENTENNIAL EVENT

Tuesday, April 16, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

From top: Gerda Peterich, Merce Cunningham in Sixteen Dances for Soloist and Company of Three (detail), 1952; Robert Rauschenberg, Untitled [Merce (III)] , 1953, courtesy of the Robert Rauschenberg Foundation; Andrea Weber at the Philadelphia Museum of Art in 2012, dancing Cunningham as part of the exhibition Dancing Around the Bride, photograph by Constance Mensh; Cunningham (2).

RASHAUN MITCHELL — SILAS RIENER — CHARLES ATLAS

Former Merce Cunningham dancers and choreographers Rashaun Mitchell and Silas Riener—in collaboration with video artist Charles Atlas—bring their live-dance/3-D video hybrid TESSERACT to Redcat for four performances this week. A London engagement begins at the end of February, 2019.

“The title refers to the four-dimensional analog of a cube, ‘moving from one world to another’ [Riener]. The first half of the show features 3-D footage using a mobile camera rig that moves in conjunction with the choreography, incorporating bits of animation. [In] the second half —a cast of six [dancers performing] in a proscenium setting—Atlas will mix and project real-time live video onto the stage.” — Matt de la Peña*

 

TESSERACT

February 28 through March 2

Barbican Centre

Silk Street, London

 

TESSERACT

Thursday through Saturday, November 30, December 1 and 2, at 8:30 pm.

Sunday, December 3, at 3 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

 

Interview with Charles Atlas, Rashaun Mitchell and Silas Riener

Above: Tesseract at REDCAT. Image credit: L.A. Dance Chronicle.

Below: Charles AtlasRashaun Mitchell, and Silas Riener, Tesseract.

Photographs © Mick Bello / EMPAC.

IVO VAN HOVE’S OBSESSION

Luchino Visconti got there first. Ossessione, his unauthorized version of James M. Cain‘s The Postman Always Rings Twice, hit the screens in 1943, and Italian neorealism was born. Hollywood’s noir take, starring Lana Turner and John Garfield, appeared three years later. Postman was remade in the 1980s with Jessica Lange and Jack Nicholson, and Stephen Paulus and Colin Graham turned it into an opera in 1982. This year, avant–garde director Ivo van Hove returned to Cain via Visconti, and brought OBSESSION to the London stage.

Jude Law is Gino, a drifter who arrives at a roadside diner/garage and finds himself in a situation of immediate, mutual attraction with the proprietor’s young wife Hanna (Halina Reijn). Dissatisfied with her lot as kitchen slave and wife of a control freak, Hanna and her lover plot to murder her husband (Gijs Scholten Van Aschat).

L.A. Theatre Works (LATW), the premiere Los Angeles screening venue for National Theatre Live, brings this Barbican Centre/Toneelgroep Amsterdam co-production to the James Bridges Theater at UCLA for an encore on Sunday afternoon, June 4.

OBSESSION screening, Sunday, June 4, at 4 pm.

JAMES BRIDGES THEATER/MELNITZ HALL, 235 Charles E Young Drive North, UCLA.

latw.org

web.ovationtix.com/trs/pr/969897

ntlive.nationaltheatre.org.uk/venues/2021214338-james-bridges-theater-u-c-l-a

(Top) Clara Calamai and Massimo Girotti in Ossessione, directed by Luchino Visconti.

Ossessione (1943)
Modern version of the Macbeths … Law and Reijn in Obsession.

obsession-1